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199:, in the fifth century B.C. when Zeuxis tried to unveil the painted curtain. The work takes its meaning from Zeuxis' gesture and wouldn't exist without it. Zeuxis, by its gesture, became part of Parrhasius' work. This shows that the specificity of interactive art resides often less in the use of computers than in the quality of proposed "situations" and the "Other's" involvement in the process of
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both the audience and the machine work together in dialogue in order to produce a unique artwork for each audience to observe. However, not all observers visualize the same picture. Because it is interactive art, each observer makes their own interpretation of the artwork and it may be completely different from another observer's views.
1052:. In: Constantine Stephanidis & Julie Jacko (Editors), Human-Computer Interaction: Theory and Practice, (Part II). Volume 2. (Proceedings of the 10th International Conference on Human-Computer Interaction, Crete, June 23–27), Published by Lawrence Erlbaum Associates, London, June 2003, pp. 1183–1187,
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The present idea of interactive art began to flourish more in the 1960s for partly political reasons. At the time, many people found it inappropriate for artists to carry the only creative power within their works. Those artists who held this view wanted to give the audience their own part of this
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Interactive art installations are generally computer-based and frequently rely on sensors, which gauge things such as temperature, motion, proximity, and other meteorological phenomena that the maker has programmed in order to elicit responses based on participant action. In interactive artworks,
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didn't make its official entry into the world of art until the late 1990s. Since this debut, countless museums and venues have been increasingly accommodating digital and interactive art into their productions. This budding genre of art is continuing to grow and evolve in a somewhat rapid manner
414:
for visitors. In 2004, the
Victoria & Albert Museum commissioned curator and author Lucy Bullivant to write Responsive Environments (2006), the first such publication of its kind. Interactive designers are frequently commissioned for museum displays; a number specialize in wearable computing.
246:
Interactive art became a large phenomenon due to the advent of computer-based interactivity in the 1990s. Along with this came a new kind of art-experience. Audience and machine were now able to more easily work together in dialogue in order to produce a unique artwork for each audience. In the
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in that it constitutes a dialogue between the artwork and the participant; specifically, the participant has agency, or the ability, even in an unintentional manner, to act upon the artwork and is furthermore invited to do so within the context of the piece, i.e. the work affords the interaction.
150:
Interactive art is a genre of art in which the viewers participate in some way by providing an input in order to determine the outcome. Unlike traditional art forms, wherein the interaction of the spectator is merely a mental event, interactivity allows for various types of navigation, assembly,
273:
A hybrid emerging discipline drawing on the combined interests of specific artists and architects has been created in the last 10–15 years. Disciplinary boundaries have blurred, and significant number of architects and interactive designers have joined electronic artists in the creation of new,
242:
came up with the "Conversation theory". This theory emphasizes the dynamic exchange of information between participants in a system. As a two-way dialogue, this concept of a conversation between the user and the system has shaped artists' thinking about interactivity.
328:
There are many different forms of interactive art. Such forms range from interactive dance, music, and even drama. New technology, primarily computer systems and computer technology, have enabled a new class of interactive art. Examples of such interactive art are
226:
has written: "Ascott was among the first artists to launch an appeal for total spectator participation". Aside from the “political” view, it was also current wisdom that interaction and engagement had a positive part to play within the creative process.
1014:
The observer as actor in
Happenings and context-sensitive installations. A short history of re- and interactive art/Der Beobachter als Akteur in Happenings und umweltsensitiven Installationen. Eine kleine Geschichte der re- & interaktiven
175:, which may be interactive, but not responsive per se, tends to be a monologue – the artwork may change or evolve in the presence of the viewer, but the viewer may not be invited to engage in the reaction but merely enjoy it.
203:. Nevertheless, computers and real time computing made the task easier and opened the field of virtuality – the potential emergence of unexpected (although possibly pre-written) futures – to contemporary arts.
389:
has now been installed on and as part of building facades, in foyers, museums, and large scale public spaces, including airports, in a number of global cities. A number of leading museums, for example, the
361:(the Association of Computing Machinery's Special Interest Group in Graphics), ISEA (the International Symposium on Electronic Art), DEAF (the Dutch Electronic Arts Festival), Transmediale Germany,
163:
More often, we can consider that the work takes its visitor into account. In an increasing number of cases, an installation can be defined as a "responsive environment", especially those created by
410:(to cite the leading UK museums active in this field) were early adopters in the field of interactive technologies, investing in educational resources, and more latterly, in the creative use of
305:); and to the development of social contexts for interactive systems (such as utilitarian tools, formal experiments, games and entertainment, social critique, and political liberation).
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or can even participate in it. Some other interactive artworks are considered as immersive as the quality of interaction involve all the spectrum of surrounding stimuli.
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achieve this by letting the observer walk through, over or around them; others ask the artist or the spectators to become part of the artwork in some way.
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to respond to motion, heat, meteorological changes or other types of input their makers have programmed the works to respond to. Most examples of virtual
368:
928:(Editor and Korean translation: YI, Won-Kon), (Media & Art Series no. 6, Institute of Media Art, Yonsei University). Yonsei: Yonsei University Press
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is a major yearly competition and exhibition that gives awards to outstanding examples of (technology-driven) interactive art. Others include
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series (CIMs, from 2000): interactive installations using the mobile phone network and participation technologies taken from e-democracy.
1258:
362:
775:
Rosen M., "Gordon Pask's
Cybernetic System: Conversations After the End of the Mechanical Age" in Samuel Bianchini and Erik Verhagen,
1233:, Actualités du récit. Pratiques, théories, modèles”, Volume 34 numéro 2-3, 2006, sous la direction de René Audet et Nicolas Xanthos]
1226:, Actualités du récit. Pratiques, théories, modèles”, Volume 34 numéro 2-3, 2006, sous la direction de René Audet et Nicolas Xanthos]
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and/or contribution to an artwork, which goes far beyond purely psychological activity. Interactivity as a medium produces meaning.
214:. The artwork required the viewer to turn on the machine and stand at a distance of one meter in order to see an optical illusion.
534:
383:. It was the first doctoral and post doc research center to be established specifically for research in the interactive art field.
1068:
Proceedings of the 2nd international conference on
Computer graphics and interactive techniques in Australasia and South East Asia
1814:
939:
624:
111:
are highly interactive as the work the spectators – Maurice
Benayoun call them "visitors", Miroslaw Rogala calls them (v)users,
345:. Since there is a presumed participant or agent in interactivity, interactive art has a deep connection with performance art.
1476:
1217:
1180:
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custom-designed interfaces and evolutions in techniques for obtaining user input (such as dog vision, alternative sensors,
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environment; some works accept textual or visual input from outside; sometimes an audience can influence the course of a
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to experiment with live performances and interactions through the direct broadcast of video and audio. At this time,
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803:"10.000 Moving Cities – Same but Different, AR (Augmented Reality) Multiplayer Game, Art Installation, 2018"
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to it. This continues today and is only expanding due to increased communications through digital media.
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and galleries began increasingly incorporating the art form in their shows, some even dedicating entire
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38:, Virtual Reality Interactive Installation, a video link between gallery visitors in Paris and Montreal
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that involves the spectator in a way that allows the art to achieve its purpose. Some interactive art
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935:. (Japanese trans. E. Fujihara). A. Takada & Y. Yamashita eds. Tokyo: NTT Publishing Co., Ltd.
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Some of the earliest examples of interactive art were created as early as the 1920s. An example is
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There are number of globally significant festivals and exhibitions of interactive and media arts.
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Digital
Transformations - Media Art as at the Interface between Art, Science, Economy and Society
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Though some of the earliest examples of interactive art have been dated back to the 1920s, most
42:
2057:
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1965:
1358:
875:
Digital
Performance A History of New Media in Theater, Dance, Performance Art, and Installation
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443:. It was developed starting in 2003 by Hernando Barragán and was popularized under the name of
1048:
Ernest
Edmonds, Linda Candy, Mark Fell, Roger Knott, Sandra Pauletto, Alastair Weakley. 2003.
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http://www.ludicart.com/historique/Chambre%20%C3%A0%20Musique%20CCL/Chambre_a_Musique_CCL.html
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This article is about display or performance art. For interactive musical performance, see
1018:
1002:
Dinkla, Söke, "Pioniere
Interaktiver Kunst von 1970 bis heute". Hatje Cantz Verlag, 1997.
733:
Popper, Frank (2007). From
Technological to Virtual Art. Cambridge, MA: MIT Press. p. 77.
8:
942:, in Internet Art. Ricardo Barreto e Paula Perissinotto (orgs.). SĂŁo Paulo, IMESP, 2002.
501:
380:
297:, led lighting etc.); modes for human-human and human-machine communication (through the
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through internet social sub-culture, as well as through large scale urban installations.
843:
2047:
1674:
1497:
1081:
Intl. Conf. On Communication of Art, Science and Technology, Fraunhofer IMK 2001, 401.
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creative process. An early example is found in the early 1960s "change-paintings" of
2017:
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371:(the Centre for Advanced Inquiry in the Interactive Arts) was first established by
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35:
452:– physical computing/electronics toolkit for interactive objects and installations
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Muller, L, Edmonds, E, Connel, M: "Living laboratories for interactive art",
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1212:, Un livre interactif avec QR codes et anaglyphes, 2016, Éditions Ludicart,
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641:"The intangible material of interactive art: agency, behavior and emergence"
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825:, "De l'interaction à la démocratie. Vers un art génératif post-digital" /
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are highly interactive. Sometimes, visitors are able to navigate through a
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Telematic Embrace: visionary theories of art, technology and consciousness
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827:"From interactivity to democracy. Towards a post-digital generative art"
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Practicable : from participation to interaction in contemporary art
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programming language for interactive computer music and multimedia works
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Proceedings of the Fifth Biennial Symposium for Arts and Technology
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Proceedings of the Fifth Biennial Symposium for Arts and Technology
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115:"immersants" – interact with take all their fields of perception.
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1197:
Prácticas artĂsticas e Internet en la Ă©poca de las redes sociales
964:, V&A Contemporary, 2006. London:Victoria and Albert Museum.
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187:, the first piece of interactive art should be the work done by
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Art & Telematics: toward the Construction of New Aesthetics
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tool similar to Processing, used for many interactive projects
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266:, Augmented Reality Multiplayer Game, Art Installation using
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Edmonds, E, Muller, L, Connel, M: "On creative engagement",
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278:, etc.); forms and tools for information display (such as
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In the 1970s, artists began to use new technology such as
458:– sensors, actuators and interfaces for interactive media
61:
859:
Dannenberg, R, Bates, J: "A model for interactive art",
1019:
http://dreher.netzliteratur.net/4_Medienkunst_Text.html
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Interactive Contemporary Art: Participation in Practice
1073:
Fleischmann, Monika; Strauss, Wolfgang (eds.) (2001).
1027:, chap. V: Reactive Installations and Virtual Reality
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Responsive Environments: architecture, art and design
1123:(World of Art series). London: Thames & Hudson.
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Developing Interactive Art Using Visual Programming
1030:Fleischmann, Monika and Reinhard, Ulrike (eds.).
674:
672:
2004:
1062:Ernest Edmonds, Greg Turner, Linda Candy. 2004.
918:, ed.) Berkeley: University of California Press.
833:, Edition L'Harmattan. Paris, 2011, pp. 229-239.
831:Ethique, esthétique, communication technologique
183:According to the new media artist and theorist
1193:Interactividad electrĂłnica e interacciĂłn social
1156:Information Arts: Intersections of Art, Science
431:electronics prototyping platform composed of a
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1252:
877:. Boston: MIT Press. pp. 2, 3, 4, 5, 6.
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71:Works of this kind of art frequently feature
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701:
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464:– programming language for interactive media
938:Barreto, Ricardo and Perissinotto, Paula
49:, Jean-Robert Sedano and Solveig de Ory in
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1245:
1231:Présences réelles dans les mondes virtuels
992:. London: AD/John Wiley & Sons, 2005.
978:. London: AD/John Wiley & Sons, 2007.
363:Electronic Language International Festival
158:Interactive art can be distinguished from
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976:4dsocial: Interactive Design Environments
792:, page 23. Thames & Hudson Inc, 2003.
766:, page 18. Thames & Hudson Inc, 2003.
724:, page 11. Thames & Hudson Inc, 2003.
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682:, page 67. Thames & Hudson Inc, 2003.
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1144:, MIT Press 2003, pp. 472,572-581,
535:Coachella Valley Music and Arts Festival
470:– used for many interactive art projects
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16:Creative works that involve viewer input
1104:Virtual Art, from Illusion to Immersion
138:(1998) interactive floor projection by
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1025:Thomas Dreher: History of Computer Art
34:The Tunnel under the Atlantic (1995),
1930:Software related to augmented reality
1477:Simultaneous localization and mapping
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1064:Approaches to interactive art systems
872:
23:. For interactive digital music, see
1224:Real Presences Within Virtual Worlds
1106:, MIT Press 2004, pp. 237–240,
634:
632:
348:
1529:Omnidirectional (360-degree) camera
1079:»CAST01//Living in Mixed Realities«
13:
1503:Image-based modeling and rendering
894:
639:Soler-Adillon, Joan (2015-12-21).
437:integrated development environment
14:
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990:4dspace: Interactive Architecture
907:, New York University Press, 1975
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468:Processing (programming language)
365:Brazil, and AV Festival England.
322:Collective Intelligence Machines
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1945:Vuforia Augmented Reality SDK
1070:, June 15–18, 2004, Singapore
441:single-board micro controller
262:10.000 Moving Cities (2018),
144:NTT InterCommunication Center
1981:List of PlayStation VR games
1374:Virtual reality applications
905:Art—Action and Participation
779:, MIT Press, 2016, pp.25-38.
400:Victoria & Albert Museum
377:University of Wales, Newport
191:during his art contest with
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844:A model for interactive art
580:List of interactive artists
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498:visual programming language
379:, and later in 2003 as the
303:telecommunications networks
103:environments like works by
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1339:Projection augmented model
940:“the_culture_of_immanence”
842:Dannenberg, R, Bates, J: "
565:Internet of Musical Things
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1976:List of Oculus Rift games
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1329:On-set virtual production
1314:Computer-mediated reality
1309:Cinematic virtual reality
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1175:. London: Phaidon, 2009.
21:Call and response (music)
1971:List of Meta Quest games
1379:Virtual reality sickness
1210:L'art interactif en jeu
1173:Art and Electronic Media
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418:
387:Interactive architecture
343:interactive storytelling
335:interactive architecture
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1446:Virtual retinal display
1434:Virtual reality headset
1966:List of HTC Vive games
1359:Six degrees of freedom
957:, (I.B. Tauris, 2014).
540:Computer-generated art
325:
270:
147:
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1815:The Sword of Damocles
1717:Windows Mixed Reality
1354:Simulation hypothesis
1199:), AKAL, Madrid, 2012
873:Dixon, Steve (2007).
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1935:Virtual reality game
1580:Cyberith Virtualizer
1412:Head-mounted display
751:Visual Communication
692:"Boundary Functions"
654:10.7238/a.v0i16.2744
433:programming language
355:Prix Ars Electronica
127:Interactivity in art
381:Planetary Collegium
212:Rotary Glass Plates
1675:Microsoft HoloLens
1498:Foveated rendering
1229:Morignat Valérie,
1222:Morignat Valérie,
1206:Jean-Robert SĂ©dano
823:Maurizio Bolognini
623:Chambre Ă Musique:
545:Contextual Theatre
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318:Maurizio Bolognini
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136:Boundary Functions
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1364:Spatial computing
1280:Augmented reality
1218:978-2-9555803-0-1
1189:Juan MartĂn Prada
1181:978-0-7148-4782-5
1169:Edward A. Shanken
1158:, and Technology
988:Bullivant, Lucy,
984:978-0-470-31911-6
974:Bullivant, Lucy,
960:Bullivant, Lucy,
931:Ascott, R. 1998.
916:Edward A. Shanken
739:978-0-262-16230-2
575:Life Cube Project
570:Kinetic sculpture
349:Events and places
47:Music Room (1983)
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2023:Contemporary art
1903:virtual graffiti
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1748:Google Cardboard
1638:Apple Vision Pro
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1595:PlayStation Move
1519:360-degree video
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1268:Extended reality
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1195:, (Chapter 7 of
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1036:netzspannung.org
1012:Dreher, Thomas,
953:Brown, Kathryn,
910:Ascott, R.2003.
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339:interactive film
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280:video projection
185:Maurice Benayoun
105:Maurice Benayoun
36:Maurice Benayoun
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1455:3D interaction
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605:Video game art
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595:Relational art
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550:Electronic art
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474:OpenFrameworks
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404:Science Museum
350:
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310:
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276:voice analysis
208:Marcel Duchamp
180:
177:
173:Generative Art
160:generative art
128:
125:
89:electronic art
79:and sometimes
25:Adaptive music
15:
9:
6:
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2:
2070:
2059:
2058:Mixed reality
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1150:0-262-69286-4
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1139:
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1129:0-500-20367-9
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1008:9783893229239
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66:installations
63:
60:is a form of
59:
52:
48:
44:
37:
32:
26:
22:
2033:Computer art
1897:
1856:Project Iris
1773:Oculus Quest
1763:Liquid Image
1758:Google Glass
1670:Meta Quest 3
1658:Meta Quest 2
1615:Wizdish ROVR
1605:Virtuix Omni
1590:Oculus Touch
1462:Eye tracking
1429:Smartglasses
1393:Technologies
1369:Telepresence
1209:
1196:
1192:
1186:(in Spanish)
1172:
1155:
1141:
1138:Jeffrey Shaw
1134:Peter Weibel
1120:
1103:
1063:
1049:
1017:, in German
1013:
989:
975:
961:
954:
932:
925:
911:
904:
901:Frank Popper
874:
868:
860:
855:
847:
838:
830:
818:
807:. Retrieved
797:
789:
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776:
771:
763:
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721:
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708:
687:
679:
644:
619:
560:Internet art
504:interactive
427:– the first
385:
367:
352:
327:
321:
272:
247:late 1990s,
245:
229:
224:Frank Popper
216:
211:
205:
182:
157:
153:
149:
140:Scott Snibbe
135:
117:
109:Jeffrey Shaw
85:Internet art
70:
57:
56:
46:
2038:Digital art
1825:Virtual Boy
1778:Oculus Rift
1712:Vuzix Blade
1707:Valve Index
1610:Wired glove
1600:Razer Hydra
1585:Leap Motion
1573:Peripherals
1550:Haptic suit
1512:Photography
1203:(in French)
1121:Digital Art
1101:Oliver Grau
1097:(Internet).
1075:Proceedings
790:Digital Art
764:Digital Art
722:Digital Art
680:Digital Art
600:Robotic art
530:Burning Man
488:open source
478:open source
429:open-source
412:MP3 players
292:mechatronic
268:smartphones
253:exhibitions
240:Gordon Pask
201:sensemaking
120:digital art
113:Char Davies
97:performance
51:Montpellier
2007:Categories
1849:Unreleased
1835:Virtuality
1810:SixthSense
1653:Magic Leap
1349:Room-scale
1034:online at
922:Roy Ascott
863:, 51(78):1
850:, 51(78):2
809:2018-12-26
805:. Marc Lee
753:, 5(307):3
506:multimedia
373:Roy Ascott
301:and other
236:satellites
220:Roy Ascott
189:Parrhasius
165:architects
77:interfaces
2048:New media
1893:ARToolKit
1805:Sensorama
1768:Oculus Go
1344:Real life
1324:Metaverse
1319:Immersion
1095:1618-1387
1089:(Print),
1087:1618-1379
788:Paul, C:
762:Paul, C:
720:Paul, C:
678:Paul, C:
663:1695-5951
502:real time
484:Pure Data
295:actuators
169:designers
93:hypertext
73:computers
2018:The arts
1940:visionOS
1874:Software
1743:EyePhone
1648:HTC Vive
1486:Software
1302:Concepts
1119:(2003).
1038:, 2004,
924:. 2002.
711:, 2(4):3
709:CoDesign
645:Artnodes
525:Artmedia
520:Art game
513:See also
359:SIGGRAPH
299:Internet
264:Marc Lee
146:in Tokyo
1881:General
1861:Sega VR
1631:Current
1624:Devices
1417:optical
1400:Display
555:Fax art
508:content
462:Max/MSP
456:I-CubeX
450:Arduino
445:Arduino
288:robotic
249:museums
179:History
142:at the
81:sensors
1920:OpenXR
1915:OpenVR
1888:ARCore
1788:Rift S
1738:castAR
1726:Former
1692:PICO 4
1407:EyeTap
1216:
1179:
1162:
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737:
661:
647:(16).
425:Wiring
408:London
402:, and
341:, and
284:lasers
193:Zeuxis
53:France
1959:Games
1950:WebXR
1733:AntVR
1697:Pimax
1543:Other
1015:Kunst
829:, in
612:Notes
435:, an
419:Tools
369:CAiiA
309:Forms
232:video
197:Pliny
1840:VR-1
1687:OSVR
1439:list
1294:(MR)
1288:(VR)
1282:(AR)
1270:(XR)
1214:ISBN
1177:ISBN
1160:ISBN
1146:ISBN
1136:and
1125:ISBN
1108:ISBN
1091:ISSN
1083:ISSN
1054:ISBN
1040:ISBN
1004:ISBN
994:ISBN
980:ISBN
966:ISBN
944:ISBN
879:ISBN
735:ISBN
659:ISSN
500:for
396:Tate
290:and
234:and
167:and
107:and
87:and
1986:VR2
1783:CV1
1663:Pro
1077:of
914:. (
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649:doi
406:in
62:art
2009::
1208:,
1191:,
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698:^
671:^
657:.
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631:^
486:–
476:–
398:,
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282:,
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1260:e
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1021:]
950:.
887:.
812:.
665:.
651::
27:.
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